Lot 224

Anonymous

IHS

An early and rare miniature pendant watch of museum-quality, with enamel decoration

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The hinged front cover represents a gothic style rose window. It is openwork with 12 hour apertures and centred Christogram "IHS" (Jesus Hominum Salvator). The brass dial features Roman hours and is surrounded by a band of champlevé enamel. The back lid is ornamented with engraving and traces of polychrome champlevé enamelling showing flower tendrils and a bird. The early Renaissance style movement has the same round shape as the case and features verge escapement, stackfreed and a four-arm brass balance without balance spring.
In 1580 Europe experienced the era of Renaissance which brought with it great progress in the arts, science and technology. The creation of portable timepieces began in the early 16th century, but around 1580 these watches were still quite rare and expensive, which is why they were mostly owned by members of the aristocracy and the wealthy bourgeoisie. For the owners of such pieces, wearing a pendant watch meant more than a practical way of keeping an eye on time. The watches were often a status symbol and reflected the wealth and social standing of the wearer. They also stood for research and science, as measuring time was considered being in control of life and nature. The early watches were often worn on a necklace because due to their size and shape they would not fit comfortably in a pocket. They were usually large and bulky in comparison to more modern watches. They normally came in round or egg-shaped cases that were made of precious metals such as gold or silver. The cases were often elaborately decorated. Engraving, use of gemstones and enamelling were popular, as the watches were considered pieces of jewellery. Dials and pointers had to have extra protection, as snagging the fabric of one’s clothing with pointer was easily done. Hence dial and pointers were covered with a protective metal cover, which was openwork not only for aesthetic reasons, or even glass, which was rare though. The openwork lid revealed the hours and the tip of the pointer, so that the time could be read even when the lid was closed.
At a size of 18 mm and weighing no more than 11 grams, this pendant watch dating from 1580 is an impressive example of the craftsmanship and the miniaturising skills available in the late Renaissance. The watch was most likely ordered by a wealthy or noble person to be worn as a status symbol and useful piece of jewellery.
The gilt movement shows the typical features of a 16th century watch. It was a challenge for the watchmaker to fit a working movement into such a small case. These timepieces were often created by the most skilled watchmakers of their time, who worked in cities such as Geneva, Nuremberg and London. Famous makers like Peter Henlein, who is regarded as the first to invent a portable timepiece, played a crucial role in developing these watches further. The ornamentation on the miniature case is also exquisite and are an example of superior goldsmithing.
The central Christian monogram "IHS" (Jesus Hominorum Salvator) on the front bears witness to the piety of the wearer. The initials stand for "Iesus Hominum Salvator" (Christ redeemer of mankind) and were at the time often used on religious objects and pieces of jewellery. The back is decorated with a large bird as well as Champlévé flower and leaf tendrils. The band, however, is ornamented with a border of round and oblong indentations which are also filled with enamel. The multi-coloured enamel has worn off in many places, as it is very delicate. For Champléve decoration, troughs or cells are carved, struck or etched into a metal surface and filled with vitrous enamel. The piece is then fired until the enamel fuses. When cooled the surface is polished.
Champlévé technique was already used in the Middle Ages but experienced new popularity around 1580, particularly in Europe. Important centres, where such pieces were produced, were Limoges or Blois in France as well as various cities in Flanders and Germany (mainly Augsburg and Nuremberg).
Plant motifs were very popular in the Renaissance era and appear regularly in art and architecture. They often symbolise growth, vitality and the circle of life, whereas the bird often stands for freedom, the soul and spiritual elevation.
Conclusion:
In the late 16th century portable timepieces were technological marvels produced in places such as Nuremberg, Augsburg or even Geneva, which were hubs of the horological industry. The watches not only had a practical purpose but were also symbols of technological progress, power and prestige. Their small size and accuracy made them valuable luxury goods. The combination of progressive watchmaking with Christian symbolism in this timepiece makes it a remarkable example of the blend of arts, technology and faith that prevailed during the renaissance era.